This shows how it was a true mirror of the age. A. R. Humphrey observes in this connection: “If any literary form is the particular creation and the particular mirror of the Augustan Age in England, it is the periodical essay.” Generally speaking, it is very difficult to date precisely the appearance of a new literary genre. For example, nobody can say with perfect certainty as to when the first novel, or the first comedy or the first short story came to be written in England or elsewhere. We often talk of “fathers” in literature: for instance, Fielding is called the father of English novel, Chaucer the father of English poetry, and so forth. But that is done, more often than not in a loose and very unprecise sense. This difficulty in dating a genre, however, does not arise in a few cases-that of the periodical essay included. The periodical essay was literally invented by Steele on April 12, 1709, the day he launched his Taller. Before The Taller there had been periodicals and there had been essays, but there had been no periodical essays. The example of The Taller was followed by a large number of writers of the eighteenth century till its very end, when with the change of sensibility, the periodical essay disappeared along with numerous other accompaniments of the age. Throughout the century there was a deluge of periodical essays. The periodical essay remained the most popular, if not the dominant, literary form. Men as different as Pope, Swift, Dr. Johnson, and Goldsmith found the periodical essay an eligible medium. As a matter of fact it was, unlike the novel for example, the only literary form which was patronised without exception by all the major writers of the century. It is hard to name a single first-rate writer of the century who did.not write something for a periodical paper. Mrs. Jane H. Jack says: “From the days of Queen Anne-who had The Spectator taken in with her breakfast-to the time of the French Revolution and even beyond, periodical essays on the lines laid down by Steele and Addison flooded the country and met the eye in every bookseller’s shop and coffee-house.” Before tracing the history of the periodical essay in the eighteenth century and assigning causes for its phenomenal popularity, let us consider what exactly a periodical essay is.
The periodical essay and the novel are the two important gifts of “our excellent and indispensable eighteenth century” to English literature. The latter was destined to have a long and variegated career over the centuries, but the former was fated to be born with the eighteenth century and to die with it.
What is a Periodical Essay?
What is called the periodical essay was first of all given by Steele as The Taller. Nothing of this type had before him been attempted in England or even elsewhere. However, to attempt a definition of the periodical essay is neither easy nor helpful. George Sherburn in A Literary History of England, edited by Albert C. Baugh, avers in this connexion: “Rigorous definition of this peculiarly eighteenth century type of publication is not very heIpful…The periodical essay has been aptly described as dealing with morals and manners,1 but it might in fact deal with anything that pleased its author. It covered usually not more than the two sides (in two columns) of a folipjialf-sheet: normally it was shorter than that. It might be published independent of other material, as was The Spectator, except for advertising; or it might be the leading article in a newspaper.”
Reasons for the Popularity:
The periodical essay found a spectacular response in the eighteenth century on account of various reasons. Fundamentally this new genre was in perfect harmony with the spirit of the age. It sensitively combined the tastes of the different classes of readers with the result that it appealed to ail-though particularly to the resurgent middle classes. In the eighteenth century there was a phenomenal spurt in literacy, which expanded widely the circle of readers. They welcomed the periodical essay as it was “light” literature. The brevity of the periodical essay, its common sense approach, and its tendency to dilute morality and philosophy for popular consumption paid rich dividends. To a great extent, the periodical essayist assumed the office of the clergyman and taught the masses the lesson of elegance and refinement, though not of morality of the psalm-singing kind. The periodical paper was particularly welcome as it was not a dry, high-brown, or hoity-toity affair like the professional sermon, in spite of being highly instructive in nature. In most cases the periodical essayist did not “speak from the clouds” but communicated with the reader with an almost buttonholing familiarity. The avoidance of politics (though not by all the periodical essayists yet by a good many of them) also contributed towards their popularity. Again, the periodical essayists made it a point to cater for the female taste and give due consideration to the female point of view. That won for them many female readers too. All these factors were responsible for the universal acceptance of the periodical essay in eighteenth-century England:
The History of the Periodical Essay
It was Steele’s Tatler which began the deluge of the periodical essays which followed. The first issue of The Tatler appeared on April 12,1709. At that time Addison. Steele’s bosom friend, was functioning as Secretary to the Lord Lieutenant of Ireland, in that country. Steele had not informed Addison of his design, but if he desired to write in secret he was not lucky; a single month detected him. and Addison‘s first contribution appeared on May 26. Though Addison contributed to The Tatler much less than Steele, yet he soon overshadowed his friend. Of the 271 numbers, 188 are Steele’s and 42 Addison’s; 36 of them were written by both jointly. The rest were penned by others like Tickell and Budgell. Steele spoke of himself as “a distressed prince who calls in a powerful neighbour to his aid,” and added: “I was undone by my auxiliary [Addison]: when I had once called him in, I could not subsist without him”‘The Tatler appeared thrice a week-on Tuesdays. Thursdays, and Saturdays, that isythe days on which the post went to the country. As regards the aim of the paper, we may quote the words of Steele in the dedication to the first collected volume (1710): “The general purpose of this paper is to expose the false arts of life, to pull off the disguises of cunning, vanity, affectation, and recommend a general simplicity in our dress, our discourse and our behaviour.” All the material of The Taller was purported by Steele to be based upon discussions in the four famous coffee-houses, and was divided as follows:
(i) “All accounts of gallantry, pleasure and entertainment”-White’s Chocolate-house.
(ii) Poetry-Will’s Coffee-house.
(iii) Learning-the Grecian.
(iv) Foreign and domestic news-St. James’ Coffee-house.
(v) “What else I shall on any other subject offer”-“My own apartment”
The chief importance of The Toiler lies in its social and moral criticism which had a tangibly salubrious effect on the times. Both Addison and Steele did good work each in his own way. Addison was a much more refined and correct writer than Steele whom Macaulay aptly calls “a scholar among rakes and a rake among scholars.” Addison’s prose is, according to Dr. Johnson, a model of “the middle style.” And this is his famous suggestion: “Whoever wishes to attain an English style, familiar but not coarse, and elegant but not ostentatious, must give his days and nights to the volumes of Addison.” Steele, on the contrary, was a thing of moods and moments. His writing has a look of spontaneity and human warmth which Addison’s lacks. Comparing Steele and Addison, George Sherburn maintains “Steele’s prose never attained the elegant ease and correctness of Addison’s, and yet it is probable that his tendency to warm to a subject and to write intimately and personally, as the reader’s friend, contributed much to the success of the paper. Addison’s best essays are the result of his slightly chilly insight into the typical mental attitudes of his day.” Later critics are apt to place Steele higher than Addison. Thus Leigh-Hunt, for instance, affirms that he prefers “Steele with all his faults” to “Addison with all his essays.”
Without any warning to his readers, Steele suddenly wound up The Taller on January 2, 1711. But two months later-on March 1,171 \-The Spectator began its memorable career of 555 numbers up to December 6,1712. Whereas The Tatler had appeared only three times a week. The Spectator appeared daily, excepting Sundays. The new paper became tremendously popular among English men and women belonging to all walks of life. The best of all the periodical essays, it is an important human document concerning the morals and manners, thoughts and ideas, of the English society of the age of Queen Anne. Addison’s fame chiefly rests on The Spectator papers. As A. R. Humphreys puts it: “Were it not for his essays, Addison’s literary reputation would be insignificant; into them, diluted and sweetened for popular consumption, went his classical and modern reading, his study of philosophy and natural science, reflections culled from French critics, and indeed] anything that might make learning “polite”‘. A particularly happy feature of The Spectator was its envisagement of a club consisting of representatives from diverse walks of life. Among them Sir Roger de Coverley, and eccentric but thoroughly lovable Tory baronet, is one of the immortal creations of English literature. The Spectator drew a large female readership as many of the papers were for and about women. Though both Addison and Steele were Whigs, yet in The Spectator they kept up a fairly neutral political poise and, in fact, did their best to expose the error of the political fanaticism of both the Tories and Whigs. Further, The Spectator evinced much interest in trade and, consequently, endeared itself to the up-and-coming trading community which had its representative in The Spectator Club-4he rich Sir Andrew Freeport. However, much of the charm of The Spectator lay in its style-humorous, ironical, but elegant and polished. The chief importance of The Spectator for the modern reader lies in its humour. As A. R. Humphrey reminds us, The Spectator papers are important much more historically than aesthetically. The modern reader, “if led to expect more than a charming humour and vivacity, is likely to feel cheated.”
“The Guardian” and Other Papers before Dr. Johnson:
The tremendous popularity of The Toiler and The Spectator prompted many imitations. Among them may be mentioned The Tory Taller, The Female Tatler, Tit for Tatt, and The North Taller. The best of all was Steele’s own Guardian which had a run of 175 numbers, from March 12 to October 1,1713. It was, like The Spectator, a daily. “If,” says George Sherburn, “The Spectator had not existed, The Guardian might outrank all periodicals of this kind, but it is shaded by its predecessor, and the fact that Addison—busy with his tragedy Cato-had no part in the early numbers certainly diminished its interest.” Another factor which diminished its interest was its open indulgence in political affairs. Apart from Steele and Addison it included contributions from Berkeley and Gay. The Englishmen, the successor of The Guardian, was even more politically biased. Steele’s Lover (40 numbers) and Addison’s Freeholder (55 numbers) followed The Englishman. Even to name the works of other periodical essayists would be difficult, so large is their number. “None of them,” to quote Sherburn, “approached with any consistency the excellency of these (the periodical papers produced by Steele and Addison).”
Dr. Johnson, Goldsmith, and Others:
In the second half of the eighteenth century the periodical essay showed a tendency to cease as an independent publication and to get incorporated into the newspaper as just another feature. The series of about a hundred papers of Dr. Johnson, called The Idler, for example, was contributed to newspaper, The Universal Chronicler, and appeared between April 15, 1758 and April 5, 1760. These papers are lighter and shorter than those published in the periodical paper The Rambler. The Rambler appeared twice a week, between March 20, 1750 and March 14,1752, and ran to 208 numbers. Dr. Johnson as a periodical essayist was much more serious in purpose than Steele and Addison had been. His lack of humour and unrelived gravity coupled with his ponderous English make his Rambler papers quite heavy reading. The lack of popularity of The Rambler can easily be ascribed to this very fact.
Among the papers that followed The Rambler may be mentioned Edward Moore’s World (209 numbers) and the novelist Henry Mackenzie’s Mirror and The Lounger. A significant development was the creation of the “magazine” or what we call “digest” today. It was an anthology of the interesting material which had already appeared in recent newspapers orpenodicals. The first magazine was Edward Cave‘s monthly, The Gentleman’s Magazine, founded i,. 1731. The vogue of the magazine caught on and many magazines including The magazines of Magazines (1750-51), appeared and disappeared. Along with the magazine may be mentioned the initiation of the critical review devoted to the criticism of books. The first such periodical was Ralph Griffith’s Monthly Review.
In the end, let us consider the work of Oliver Goldsmith who from 1757 to 1772 contributed to no fewer than ten periodicals, including The Monthly Review. His own Bee (1759) ran to only eight weekly numbers. The Citizen of the World (1762)—Goldsmith his best work—is a collection of essays which originally appeared in The Public Ledger as “Chinese Letters” (1760-61). Goldsmith’s essays are rich in human details, a quivering sentimentalism, and candidness of spirit. His prose style is, likewise, quite attractive; he avoids bitterness, coarseness, pedantry, and stiff wit. His style, in the words of George Sherburn, “lacks the boldness of the aristocratic manner, and it escapes the tendency of his generation to follow Johnson into excessive heaviness of diction and balanced formality of sentence structure…It is precisely for this lack of formality and for his graceful and sensitive ease, fluency, and vividness that we value his style.”